Lukas Dhonts feted debut feature Girl has been among the most talked about foreign language films of the year. The Belgian drama has also become a lightning rod for the growing discussion over on screen representation.

The film recounts the true story of a 15-year-old girl, born in the body of a boy, who dreams of becoming a ballerina. The movie won four prizes at Cannes including the prestigious Camera dOr and was subsequently snapped up by Netflix and key arthouse buyers. It went on to score awards at a string of festivals, a European Film Award and a Golden Globe nomination.

There has been plenty of critical support for the film, with journalists calling it “sublime”, riveting” and “deeply humane” and it has been glowingly received by its real life subject, trans dancer Nora Monsecour, who worked closely with filmmaker Dhont to bring it to screen.

Not all feel the same way, however. Girl has experienced some particularly stinging criticism from a number of trans critics, who have accused it of being a “danger to the transgender community”, “irresponsible”, “voyeuristic” and an example of “trans-trauma porn.”

One trans critic recently slammed the film in a trade publication, warning the Academy that a vote for Girl would damage the trans community and signal Hollywood regression. That critic got their wish yesterday when the film was surprisingly omitted from a nine-film Foreign Language Oscar shortlist.

For my money, Girl is a bracing, poignant and impressive debut featuring a gripping performance from its newcomer lead Victor Polster and strong support from Arieh Worthalter. I reached out to its young Belgian director to discuss the films ambitions, the controversy it has provoked among trans critics and the growing waves of discontent over actors and directors taking on subjects they havent directly lived.

Deadline: Congratulations on Girl and its success. It has been quite a journey, ten years in the making. How did you come to the story?

Lukas Dhont: Thank you. Yes, I read an article in a Belgian newspaper in 2009 about a 15-year-old trans girl called Nora Monsecour who wanted to become a classically trained dancer. Her school at the time wouldnt allow her to change from the boys to the girls class. I was immediately attracted to the story. The idea started from that moment, initially as a documentary. Nora didnt want to be in front of the camera, however, so I started to write it as a fictional film. It was great to have her support. She is an amazing person.

Would you say the film is a personal to you?

Yes. When you write something and direct it, it cant not be. There are elements of who I am in it. The reason I connected with this story in 2009 was for a very personal reason [Dhont has previously discussed the challenge he felt at the time coming to terms with his sexuality]. Of course, its largely not an autobiographical film, however.

How did you cast the film?

We organized a genderless casting call. We needed someone very young and who could play Nora in a respectful, elegant way. We knew it was a demanding role. We really wanted to make the casting as open as possible. The casting included trans people and trans actors. We saw more than 500 young people.

What impressed you about your lead Victor Polster?

I need to fall in love with my actors. When I listened to Noras story I fell in love with her in a way. When I saw Victor I had that same instant connection. We all felt the same in my casting team once we had seen his audition. Victor really stood out. We felt he would be able to carry this film. The camera follows him a lot so that was important. Nora agreed.

So Nora didnt say this needs to be a trans actor?

Its important to say that we all want trans talent on screen. We want trans talent telling stories. We want trans talent behind the camera. Im very excited about seeing trans actors on screen and Nora was a big part of this collaboration. But as a team we feel the biggest strength of any artist is empathy. We see performances and cinema as a bridge. We dont want to limit someones performance to their own identity. Thats why we felt comfortable choosing Victor.

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There is of an important need for more diversity on screen and in the industry in general. Were also at a juncture where there is growing uncertainty over who should be able to tell or portray certain stories. There has been very strong criticism from trans critics about Girl with some calling it “voyeuristic”, “irresponsible” and “trans trauma porn”. Some have called out the casting and the fact a cis gender director is telling this story. How do you respond to that criticism?

Sebastian Lelio, director of A Fantastic Woman, said something amazing, which Id like to refer to: cinema is a bridge, it should never be a wall. The reason I make movies is to get to know people better. I loved getting to know Nora and I wanted to put her on screen. Theres a big nuance at the moment. We need to add voices on screen but we cannot limit ourselves at the same time. I dont only want to tell autobiographical stories. I want to tell stories that interest me. That said, I want to listen to different opinions about my film. I learn from that. Ive engaged in dialogue. Representation and the future of representation is important. But I dont think a director should only be limited to making films that only pertain to his or her identity.

Was your main character Lara meant to be a standard bearer for a particular group — was she symbolic of the trans community or a wider struggle, for example?

There is one sentence in the film which Id like to refer to. Lara says at one point, I dont want to be an example, I just want to be a girl. This story is about the experience of one trans girl. Its a singular portrait. I know from talking to many individuals and with organizations that there is a spectrum of trans experiences, just like there is a spectrum of human experiences. With this film we only wanted to tell one experience: Noras experience. Everything you see on screen is inspired by her and she is very happy with the portrayal. Thats what we wanted to do. Its fine if other people dont identify with this character.

If we look at the bigger picture, the world of the ballet was used in the film as a metaphor for a society which works in a binary way: a world that is divided into roles for men and women. A world that is based on a fairytale. There is a commentary there. A young character is trying to find her way in that world.

The film was also powerful in terms of its depiction of the challenging adolescent experience. The films interest in physicality seemed natural given that it is about an adolescent, a ballerina and someone who wants to significantly alter their body. I didnt find this to be egregious, but some trans critics have. Were you concerned that the camera spent too much time trained on Victors body?

The reason we focus on the physicality is of course because Lara wants to become a classical dancer. Even trans dancers who have watched the film said that its attention to physicality is something they recognize as understandable. It also ties into the fact the character is a teenager, when we are so aware of our bodies. These were important parts of Noras experience.

Were at a point where some actors wont take on certain roles due to their gender or sexuality. Scarlett Johansson backed out of movie Rub & Tug following an outcry. It feels like a whose experience is it, anyway? moment. Whats your take on this scenario?

Its a difficult thing for me to comment on. In Belgium and Europe I think the conversation is slightly different. I think to an extent this is a conversation rooted in Hollywood. I dont know all the details of that situation. When I watch a series like Pose I am so excited to see trans stories being told. But trans talent shouldnt feel they can only tell trans stories. Talented people should be able to tell any story. The biggest strength of art is empathy. For me, that means we shouldnt limit stories we tell to our own experiences and identities. Lets include, not exclude.

The movie will be on Netflix in the U.S. from January. To what extent have you reached out to the trans community ahead of its launch?

We are talking to trans groups. We are talking about how to put the film on the platform. Weve had so much great reaction already from all quarters, including trans kids and parents of trans kids. Netflix organized an LGBT screening a few days ago in LA which was attended by some trans men and women. I welcome conversations around this subject but its also about the film being what it is now.

Would you make a movie with a trans theme again?

Yes. I fell in love with Nora in 2009. I wanted to bring her voice to screen. I wanted to show that character. If I was to come to another trans person with an amazing story then yes I would be glad to tell it. I will always want to tell stories that are special.

It solidified a long relationship that Willis has had with Emmett/Furla/Oasis. He has made 14 with them, with 10 Minutes Gone in post-production and past efforts that include the Richard Donner-directed 16 Blocks and the Stephen Frears-directed Lay the Favorite.

The first in the new three-pic pact will be Trauma Center, written by Paul da Silva. It will begin shooting February in Miami. Additional casting is underway on the film. Randall Emmett, George Furla, and Lydia Hull will produce Trauma Center while Ted Farnsworth, Tim Sullivan and Alex Eckert will executive produce.

Speaking on the relationship between the company and Bruce Willis, Randall Emmett said, “We consider Bruce a part of the MoviePass family at this point. Bruce is not only one of the biggest worldwide movie stars, but is also a force to be reckoned with and we look forward to the future with him.”

Said Willis: “After 15 years, I look forward to continuing to work with Randall and George in the coming year.”

EFO is in post-production on Martin Scorseses The Irishman along with Willis 10 Minutes Gone. The Michael Polish helmed WWII drama Axis Sally starring Al Pacino is currently in pre-production.

]]>41315Jennifer Lopezs Second Act Is a Success Story with a Surprisehttps://vegasnews.today/2018/12/19/jennifer-lopezs-second-act-is-a-success-story-with-a-surprise/
Wed, 19 Dec 2018 06:01:13 +0000https://vegasnews.today/2018/12/19/jennifer-lopezs-second-act-is-a-success-story-with-a-surprise/Given that shes one of the hardest working people in show business, its fitting that Jennifer Lopez should make a movie about work. Shes done it before, of course—navigating a rising career in Selena, resigned to cleaning hotel rooms in Maid in Manhattan—but never quite so directly as in Second Act (opening December 21). Lopezs first non-animated film in three years, after some time spent on TV and in Las Vegas, Second Act has a meta whiff of revival, centering a prolific renaissance woman in the medium that first made her famous. Its nice to have her back.

Warning: mild spoilers to come.

In Second Act, Lopez plays Maya, a street-smart Queens native whos passed over for an upper-management promotion at a supermarket chain because she doesnt have a college degree. After some moping, Maya finds herself on a brisk career adventure when a deceptive resume and a mysterious email land her an interview at a healthy and beauty conglomerate whose offices are located somewhere in the very building where I am writing this review. Timid but egged on by her loved ones, particularly her best friend Joan (Lopezs real-life bestie Leah Remini), Maya decides to seize the opportunity and prove that her real-world expertise is better qualification than any kind of elite book-learning could be.

Which is a valuable subject for a film, especially at a time when cultural pressures toward higher education have pushed thousands of young people to go into debt by pursing degrees they may never put to practical use, while those without degrees fall further and further into the indifferent maw of the minimum-wage service sector. This issue involves class and race and certainly gender—so Second Act is not exactly the frothy, glossy December comedy one perhaps assumes will result from a Lopez-Remini pairing.

Written by Justin Zackham (The Bucket List) and producer Elaine Goldsmith-Thomas (in her screenwriting debut), Second Act is pretty blunt in its messaging. Or, at least, in its themes. There is no romance complicating the film (Milo Ventimiglia, looking good, is Mayas patient on-again, off-again), while the storys competition narrative—between Maya and her young, degree-laden rival, Zoe (Vanessa Hudgens)—gives familiar, easily maneuvered structure to the film. Second Act is a straightforward issue dramedy with a fizz. Lopez sails through with her natural charm, while New York gleams in director Peter Sagals loving attention.

Or, hm. O.K. So, thats how the first half-ish of the movie goes. But then Second Act does something entirely unexpected: theres a major twist that turns the movie from something relatively buoyant, cheery even, into pure melodrama. Even so, Second Act tries to maintain the airy energy that animates its first half, which makes the reveal stand in even stranger contrast. How easily everyone seems to accept this seismic thing—they react to it with some measure of emotion, yes, but its all processed pretty quickly and then folded into the texture of their lives.

I obviously dont want to spoil the twist—and, really, revealing that theres a twist at all is itself kind of a spoiler, sorry—but its hard to talk about this movie without somehow bringing it up. Because it so suddenly, so totally alters Second Acts DNA that one leaves the theater having seen a completely different movie than expected. Which is rare these days, given all that goes into marketing a studio-adjacent release like this.

So, I wont discuss what happens in Second Act here, but I will say that this jarring change of direction knocks the movie off balance. What ensues is weirder but somehow less interesting than what came before—the movies stakes are raised to heights it hasnt quite earned, or doesnt seem built to sustain. Its maybe unfair to impose ones expectations on a movie in this way, but I really wanted Second Act to be something it is shockingly resistant to being.

I appreciate that the movie explores the terrain its interested in, steering the movie into a thematic inquiry thats certainly no less pertinent than the films initial mulling of class and opportunity. Its just that the outlandishness of the secret conceit doesnt really meld well with all the lived-in, blue-collar trappings of the films set-up. Second Act is a kitchen sink drama that goes for surprise over real seriousness. Its a Jennifer Lopez vehicle, and thus still worth a look. But Second Acts second act proves pretty hard to follow.

Get Vanity Fairs HWD NewsletterSign up for essential industry and award news from Hollywood.Richard LawsonRichard Lawson is the chief critic for Vanity Fair, reviewing film, television, and theatre. He lives in New York City.

]]>41311How Mary Poppins Returns Gave the Nanny a Practically Perfect Makeoverhttps://vegasnews.today/2018/12/19/how-mary-poppins-returns-gave-the-nanny-a-practically-perfect-makeover/
Wed, 19 Dec 2018 06:01:00 +0000https://vegasnews.today/2018/12/19/how-mary-poppins-returns-gave-the-nanny-a-practically-perfect-makeover/Emily Blunthas said that she found fresh inspiration for her version of Mary Poppins in the P.L. Travers books that originally introduced the character, an eccentric and decidedly vain nanny. Oscar-winning costume designer Sandy Powell (Shakespeare in Love,The Aviator,The Young Victoria) also found a way to set Blunts Poppins apart from Julie Andrewss wholesome incarnation—by making the 2018 Poppins a bit more stylish.

“We aimed to make her more elegant and definitely fashionable,” Powell said of her costumes for the Rob Marshall reboot Mary Poppins Returns, in theaters this week. “Marys definitely vain, so she would have made sure that she was very well-coordinated.” Powells Mary Poppins costumes reflect 1934, the year in which the film is set—polka dots, chevron patterns, chiffon, and stripes were in vogue—but they also have a dash Devil Wears Prada, thanks to a vibrant palette of ruby red, pink, and sapphire. “It was like doing a collection—designing different shirts, different ties, and different skirts that all sort of coordinated with each other,” the designer said.

Powell was also careful to include a few sartorial nods to the Julie Andrews film.

“In the original Mary Poppins, she always has a bow at her neck—on all her blouses,” said Powell, explaining that the bows became a recurring theme for Blunts costumes. Each of Blunts looks—even the Victorian swimsuit she wears in an underwater sequence—feature a bow. The only difference: Powell adjusted the ties this time around to make them “neater and chic-er.”

For Marys first look—when she magically floats down from the sky to help the Banks family—Powell wanted Marys costume to echo the same scene in the original movie. So she maintained the first Marys silhouette, and gave her another hat that was “similar in scale to the original hat, but a 1930s version, perched on the side of her head rather than straight on top.”

Though the original film was set in 1910, some of the costumes had 1960s sensibilities reflective of its 1964 release date. Powell wanted to find a way to replace one such anachronistic flourish—a daisy tucked into Marys hat. “I just really wanted to keep flowers away from her hair,” said Powell. “It didnt seem right. I had to think of something else to go on a hat, and was thinking of ribbons, bows, and feathers. Then I thought of a bird, and remembered the robin Julies Mary has while singing A Spoonful of Sugar.” Powell thought the robin would look just strange enough if it were obviously fake, as it is in the first film. (For the underwater hat, Powell swapped out the robin for a more appropriate flying fish.)

There was another costume element from the original that Powell wanted to sort out. “As much as I loved the original, I always felt that the live-action characters stood apart from the animated world,” said Powell of its signature hand-painted sequence, which Mary Poppins Returns ingeniously replicates. “I wanted our characters to look like they were part of the same world.” Powell found inspiration for Marys look here—a frilly pink concoction—from a Tissot painting. The dress, along with all the other costumes in the sequence, were painted in “a 2-D way, to make them more integrated with the animated world.”

Courtesy of Walt Disney Studios.

Mary Poppins Returns marked a milestone for Powell, who has been designing costumes for over 30 years: it was her first musical. Fortunately, director Rob Marshall—who started his career as a choreographer—had lots of ideas about how he wanted costumes to move during musical numbers. And, as an added challenge, he wanted to stay away from costuming en masse. So for a scene when a group of lamplighters join Lin-Manuel Mirandas character for an energetic outdoor number, Powell designed different costumes for each dancer.

Costuming another musical scene allowed Powell to work with a legend from the original film: Dick Van Dyke.

“He was incredible,” said Powell, who met the actor at his home. “We sat there and he just beguiled me with stories.”

The then-91-year-old dances in the film, and Powell was surprised to be given a wardrobe parameter by Mary Poppinss chimney sweep. “His only requirement was that he wear his own dancing shoes. He said he could only dance in his own.”

Get Vanity Fairs HWD NewsletterSign up for essential industry and award news from Hollywood.Julie MillerJulie Miller is a Senior Hollywood writer for Vanity Fairs website.

]]>41307Joanna Kulig On The “Two Hearts” At Center Of Cold War Romance – The Contenders L.A. Videohttps://vegasnews.today/2018/12/19/joanna-kulig-on-the-two-hearts-at-center-of-cold-war-romance-the-contenders-l-a-video/
Wed, 19 Dec 2018 06:00:55 +0000https://vegasnews.today/2018/12/19/joanna-kulig-on-the-two-hearts-at-center-of-cold-war-romance-the-contenders-l-a-video/Amazons Cold War has been heating up since Pawel Pawlikowski won the Cannes Film Festivals Best Director award for it after its world premiere there in May. The black-and-white film, the follow-up to the helmers 2015 Foreign Language Oscar winner Ida, was just shortlisted for this years Oscar race as Polands entry after scoring major wins at the European Film Awards.

Amazon Studios

The captivating music- and dance-filled film stars Joanna Kulig and Tomasz Kot in a love story between two people of different backgrounds and temperaments, fatally mismatched and set against the Cold War in the 1950s in Poland, Berlin, Yugoslavia and Paris.

Kulig recently was in the spotlight at Deadlines annual awards-season event The Contenders Los Angeles and told the packed crowd of Academy and Oscar voters that the main song that threads throughout the film, the Polish folk staple “Dwa serduszka” (Two Hearts), itself evolved to “tell the love story of the couple” — her Zula and Kots Wiktor, which are characters based on Pawlikowskis own parents.

“[The] evolution of our music is the evolution of our love,” said Kulig, who explained (and then demonstrated, in full voice) how she had to adapt the songs stylings to match the movies shifting themes. She also had to learn various forms of dance from scratch.

Amazon is giving the film a limited U.S. theatrical release beginning Friday.

Penny Marshall, who starred in Laverne & Shirley before becoming one of the top-grossing female directors in Hollywood, has died. She was 75.

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Marshalls publicist, Michelle Bega, said Marshall died in her Los Angeles home on Monday due to complications from diabetes. “Our family is heartbroken,” the Marshall family said in a statement.

Marshall starred as Laverne DeFazio, the Milwaukee brewery worker, alongside Cindy Williams in the hit ABC comedy Laverne & Shirley. The series, which aired from 1976 to 1983, was among the biggest hits of its era.

It also gave Marshall her start as a filmmaker. She directed several episodes of Laverne & Shirley before making her feature film directorial debut in Jumpin Jack Flash, the 1986 comedy starring Whoopi Goldberg.

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Her next film made Marshall the first woman to direct a film that grossed more than $100 million. Her 1988 hit comedy Big, starring Tom Hanks, was about a 12-year-old boy who wakes up in the body of a 30-year-old New York City man. The film earned Hanks an Oscar nomination.

Marshall reteamed with Hanks for A League of Their Own, the 1992 comedy about the womens professional baseball league begun during World War II. That, too, crossed $100 million, making $107.5 million domestically.

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A Bronx native, Marshall became a dedicated Los Angeles Lakers fan, and a courtside regular. Her brother Garry Marshall, who died in 2016, was also one of Hollywoods top comedy directors. Penny Marshall was married to Michael Henry for two years in the 1960s and to the director Rob Reiner from 1971-1981. Their daughter Tracy Reiner is an actress; one of her first roles was a brief appearance in her mothers Jumpin Jack Flash.

Marshall is also survived by her older sister, Ronny, and three grandchildren.

Mick Carter is finally back where he belongs, but what is he coming back to? Stuart Highway is still roaming around in EastEnders and did wife Linda go too far to save him?

On the one hand, Linda did everything she could to save Mick from rotting in prison for a crime he didnt commit in EastEnders. On the other, she almost committed the ultimate betrayal.

Mick is struggling to process the truth and it could have a huge impact on their marriage. Can their relationship survive? Ricky Champ, who plays Stuart Highway hinted that there may be trouble ahead.

I wont say too much but its a huge test, he said. One of the crowning jewels in EastEnders is Mick and Lindas love for each other. Its beautiful to watch. Its really great. When thats challenged, it makes for exciting viewing. But if there was bigger test of their love Id like to see it!

Kellie Bright also revealed the impact her actions will have on her marriage.

Well, this is where it all gets very, very tricky. It all comes out, she said. At then end of the day, so youve got this one thing that Lindas trying to do for the man that she loves but what is she willing to do? And once Mick is back in the fold, he is then asking himself all those questions and hes also asking those questions of Linda.

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Now its exactly what has happened and how much has it changed them and their relationship?

Can Mick get past what Linda was prepared to do to save him? Or could this prove too much for their marriage? And what revenge will he have in store for Stuart?

Nicky had to deal with a horrible, creepy man in tonights Holby City. The worst part about it was that shed voluntarily slept with him the night before. Talk about beer goggles.

When she got to work the next day she was shocked to find Mr Night Before – also known as Dan Chambers – was her first patient of the day. Sometimes Nicky comes across as quite cocky and confident, but this episode showed she really isnt. Shed known Dan at school, where he was the sort of boy whod never look at the sort of girl she apparently was. But whereas Nicky has grown up to become a doctor, Dan Chambers had grown up to be a thug and a creep.

Regrets… shes had a few (Picture: BBC)

There was a patient on AAU whod been beaten almost to death the night before in the same nightclub where Nicky had met Dan. As Dan had bruised knuckles, Nicky put two and two together, but when she confronted Dan he told her to keep quiet because he had incriminating video of her.

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Dan needed emergency surgery, and while he was recovering from that Nicky managed to use his fingerprint to get into his phone to delete the pictures of her (which were mainly of her falling over drunk. It could have been so much worse). She also saw a picture that shocked her more – the AAU patient having just been beaten up by Dan.

Sheilagh is back (Picture: BBC)

Nickys champion at Holby is Mo, who got her to admit what was going on and advised her to do the right thing. So Nicky told the police all about Dan, and managed to get to the presentation she was due at as well. Im not sure how well this presentation went down, because she was presenting to three non-speaking supporting artists who didnt give a lot in the way of feedback.

Meanwhile, poor Sacha was struggling with his depression. His day perked up a lot when his daughter Beka surprised him with a visit. Beka is played by Bob Barrett (Sacha)s real-life daughter Francesca, and she was wonderful. There was a heartbreaking scene when Sacha (prompted by Hanssen) finally opened up to her about his depression, and even told her that hed been close to suicide. Bob Barrett is a naturally smiley actor, but I loved how for most of the episode he somehow managed to keep the customary twinkle out of his eyes – we could see that Sacha was putting on a brave face and wasnt really happy. After hed spoken honestly with Beka and arranged that she would stay with him (and Jac) for part of Christmas, he visibly relaxed and the warm Sacha smile was back.

Happiness is a festive tie (Picture: BBC)

Henrik Hanssen was keeping an eye on Sacha, and even gave him a not-so-secret-Santa present of boxing gloves, because he knows about Sacha and Friedas basement fight club. Adorably, Hanssen and Sacha are going to have Christmas dinner together, too. Hanssen has softened such a lot in recent months, though somehow without losing his eccentricity or his charisma as an authority figure. Its this charisma that makes him the perfect fit for the currently vacant CEO job. Ric and Sacha are quite keen for him to take the job, but Hanssen said he thought a man who didnt notice that John Gaskell was a psychopath has no business being at the helm of the hospital. In my opinion a man who can rock a comedy Christmas tie that says Ho-ho-ho when pressed is more than suited to high authority.

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Dominic and Lofty were getting excited about their honeymoon. All they had to do was get through the days shift, and then it would be holiday time. Things didnt go quite according to plan, though, as Loftys nan Sheilagh was brought into the hospital with pain that she attributed to a large cheese ball. It turned out to be more serious than that, and after surgery she faced several weeks of recovery in hospital. She insisted that the boys should still go on their honeymoon, but they only got as far as a taxi in the car park and realised they wouldnt be happy leaving Sheilagh alone. So its Christmas at Holby with possibly a stripping Santa for company, if Dominic is in charge of the festivities.

Serenas inclination was to escape the festivities altogether and go on a yoga retreat. Christmas reminded her too much of Elinor, and missing Bernie. Leah (on her last day at Holby) pointed out that she could start to make new Christmas memories with Jason, Greta and Guinevere, and finally Serena realised that would be best after all. Touchingly, Jason said he would set a place for Elinor too, so they could remember her together.

Sue Haasler is the author of the official Holby City book, which you can read about here. She also writes novels and theres information about all her books here

EastEnders Mick Carter was off to a shaky start in his return to Walford. He was angry, hurt and confused by Lindas actions, and things nearly boiled over when he came face to face with Stuart Highway. Could he

Mick popped up in the barrel store without warning after his release, and he admitted to Linda hed kept his return a secret because he wasnt sure the welcome hed get – alluding to the fact his wife has failed to visit him for weeks. Linda tried to reassure him by telling him shed explain all in good time, but Micks menacing glare said more than his words.

He was suspicious, noticing changes around the pub, coming to realise Stuart had been working behind the bar. Later, Kim let slip Stuart had even briefly moved into the gaff.

(Picture: BBC)

The revelation led to a fiery confrontation with Linda who desperately tried to get him to see what shed done was for the greater good. But Mick wasnt having any of it.

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He went to face off with the man whod been muscling in on his life, heading to Dots for a cosy chat over a cuppa and a piece of cake as he sent Stuart death stares across the table.

Stuart goaded him, telling him hed seen Lindas scars that were very well hidden, trying to lead Mick into believing hed slept with Linda, and it was clear Mick was trying desperately to keep his anger in check. But he issued Stuart with a chilling warning with Dot looking on.

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There are things I need to do when Im out. When you get something in your head, you cant stop thinking about it, he said, as he shook Stuarts hand with a knowing look. For once, the smug smile was wiped from Stuarts face as he saw a glimpse of his own future in Micks eyes and realised it might be quite short.

]]>41283Penny Marshall, Beloved Sitcom Star and Groundbreaking Director, Dies at 75https://vegasnews.today/2018/12/19/penny-marshall-beloved-sitcom-star-and-groundbreaking-director-dies-at-75/
Wed, 19 Dec 2018 06:00:30 +0000https://vegasnews.today/2018/12/19/penny-marshall-beloved-sitcom-star-and-groundbreaking-director-dies-at-75/Penny Marshall, the beloved star of Laverne & Shirley who also made Hollywood history as the first female director to gross over $100 million at the box office—thanks to her hits Big and A League of Their Own—died in her Hollywood Hills home on Monday. A spokesperson for the Marshall family said the cause was complications from diabetes. She was 75 years old.

“Our family is heartbroken over the passing of Penny Marshall,” Marshalls family wrote in a statement. “Penny was a tomboy who loved sports, doing puzzles of any kind, drinking milk and Pepsi together, and being with her family.”

“I loved Penny,” Marshalls second husband, Rob Reiner,shared on Twitter. “I grew up with her. She was born with a great gift. She was born with a funnybone and the instinct of how to use it. I was very lucky to have lived with her and her funnybone. I will miss her.”

Known for her Bronx accent and deadpan delivery, Marshall broke into television acting thanks in part to her brother Garry, who cast her as Oscars secretary on The Odd Couple in the early 70s. In 1975, Marshall was cast as feisty factory worker Laverne DeFazio on her brothers series Happy Days.

“Im sure people thought I got parts because my brother was being nice, and at first I probably thought the same thing,” Marshall said in 1988. “But my brother finally told me, Im not giving you a job cause Im nice. Im not that nice.”

“There were no blue-collar girls on television” when the series debuted, Garry once pointed out. But Marshalls Happy Days character was so popular that in 1976, ABC launched the spin-off Laverne & Shirley, co-starring Cindy Williams as Lavernes Milwaukee roommate. Marshalls wisecracking performance was nominated for three Golden Globes.

After a successful television-acting career, Marshall pivoted into feature directing. Following 1986s Jumpin Jack Flash, Marshall directed Tom Hanks in Big, becoming the first woman to helm a film that grossed over $100 million. Her proudest professional achievement, however, came in 1992 when Marshall, a lifelong sports fan, premiered A League of Their Own. It wasnt the box-office receipts that fulfilled her, or the feat of directing such a starry cast, including Geena Davis,Madonna,Rosie ODonnell, and Hanks. As she explained in Vanity Fairs Proust Questionnaire, Marshall was mostly happy to finally get some recognition for the ladies of the All-American Girls Professional Baseball League. Marshall also directed 1990s Awakenings, starring Robert De Niro and Robin Williams; 1994s Renaissance Man, starring Danny DeVito; and 1996s The Preachers Wife, starring Denzel Washington and Whitney Houston.

Though her box-office successes paved the way for future female filmmakers, Marshall was modest about her directing career.

“With directing, I know people on movie sets want leadership, but I dont exude that captain-of-the-ship image.” Marshall once said. “Id get on the phone with [Big producer] Jim Brooks and apologize all the time and say, Im no good at this.”

In a 2013 interview with Vanity Fair, between bites of a peanut butter and jelly sandwich, Marshall joked that her films would never be made today. “Because theyre not horror, theyre not vampires, theyre not car crashes, and theyre not superheroes. I like a nice story,” she said. She spoke of two sports films she still wanted to make, but was not optimistic they would find funding in contemporary Hollywood: “I have a baseball movie about the Negro leagues, the Newark Eagles, but baseball movies dont sell overseas. And its all black—that doesnt sell overseas either! And I have a soccer one that takes place in Guatemala that was based on an article I read in the newspaper.”

In later years, Marshall remained a devoted basketball fan. Explaining her obsession to Vanity Fair, she said, “I like to see guys with the least amount of clothes possible.”

Marshall was also close friends with actress Carrie Fisher. Beginning in 1981, the duo began co-hosting annual birthday parties. In 2012, Marshall dedicated her memoir My Mother Was Nuts to Fisher, writing, “I want to thank Carrie Fisher, my friend and partner in crime for more than 30 years. Weve lasted longer than all of our marriages combined. Our crazy lives have meshed perfectly. Weve always said its because we never liked the same drugs or men, but I know theres more to it.”

“Did you have any idea when you were a teenager what you wanted to be?” asked Fisher.

“Married,” cracked Marshall. Marshall was twice married and divorced. The first marriage yielded Marshalls beloved daughter, Tracy. Marshalls second marriage, to Reiner, lasted from 1971 and 1981. By 1996, she seemed content with her life sans men, noting that she really wouldnt want to have to share her house with another husband. “At the most, I could clear off a shelf.”

In the hilarious Proust Questionnaire, Marshall called “pizza and my daughter” as the greatest loves of her life. As for what she regards as the lowest depth of misery: “When they stopped making quaaludes.” She also shared her motto: “Live fast and die middle-aged” or “Every day could hopefully be your last.”